Brilliant Lies

It’s 40 years since I went to the opening of the stunning bijou 1812 Theatre in Upper Ferntree Gully. It’s also 40 (+1) years since playwright David Williamson shook us out of our complacency. How fitting, then, that the 1812 theatre company chose his 1993 play Brilliant Lies for their 40^th Anniversary season.

Brilliant Liesdeals with sexual harassment in the workplace and men’s perception of women in society in general. When Susy brings her sexual harassment case against her sleazy boss Gary, we aren’t sure if she is a victim or a scheming opportunist, and the truth seems to change with everyone’s perspective. Williamson is a master of dressing up deep social issues in witty one-liners and making us think while we laugh.

Although there are more positives than negatives, some of the humour is missing from this production. Lines that should command laughs are thrown away and some of the actors give performances overall too low-key to give Williamson his full weight. How marvellous then to see Chris Proctor hit just the right note and level to make a feast of his role as Brian, the father who has “touched up” both his daughters and is oblivious to the damage he has done. His level of professionalism is matched by that of Phillippa Adgemis as Marion, the tribunal investigator who seeks to change women’s status, but not at the expense of accepting lies. These two performances are stand outs in a strong cast. David Lawson-Smith really hits his stride as the sleazy Gary in Act Two. Dhania McKechnie plays the manipulative and amoral Susy well, but is let down by wardrobe. For a girl who has been brought up by a multi millionaire father, and kept by a series of wealthy businessmen, she doesn’t have the necessary look to suggest she is actually “slumming” in her job at an insurance company. Kelly Rohrlach gives a nicely balanced performance as older lesbian sister Katy, and Blake Stringer is a real find as the almost forgotten son who tries too hard too please his father. However, for someone trying to impress with his business acumen, his wardrobe also is inappropriate; and poor Tony Condon as Steve, the CEO, has a running battle with a suit at least two sizes too large, whose jacket sleeves obscure his hands completely. I realise the miniscule costume budget that must be available to some community theatres, but it IS an important area that needs more attention.

The split level set is interesting and lit well, but perhaps because the set takes up so much working space on the stage, Zina Carman’s blocking is quite static. Most scenes take place sitting down, with no-one moving more than a few centimetres. It’s perfect blocking for television – but unfortunately we don’t have the benefit of cameras for close-ups. However, kudos for her work on characterisation and text. All in all the positives come out on top. This is a delightful venue with more atmosphere than most of our professional theatres and it hosts a super bar and foyer area. Whilst this may not be 1812’s finest production, it is still well worth seeing. The whole package is an indisputable asset to the hills area and a great night out for theatre-lovers.

Coral Drouyn

Image: David Lawson-Smith, Phillappa Adgemis and Dhania McKechnie. Photographer: I.J Photographics.